Method of and means fob associating light and music



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u. H. GREENEWALT IBTHOD 0I' AID HIAIS FOR ASSOGIAI'IN LIGHT AND KUSIC 3 Shlets-Sheet 3 /M/fA/m/r /wr/vsss.- @Waff ya. Waff #ff/@f 0MM/ Reissued Dec. 20, 1927.

UNITED STATES MARY IIALLOCK GREENEWALT, OF PHILADELPHIA, PENNSYLVANIA.

METHOD OF ANI) MEANS FOR ASSOCIATING LIGHT AND MUSIC.

Original No. 12,481,132, dated January 15, 1924, Serial No. 252,133, led August 30, 1918. Application for reissue filed October 15,

My invention relates broadly tothe associating of light in various shades or intensities, which may be accompanied by color indication or sensation, with musical notes or tones in various shadings. My invention includes means for producing what in some instances would be flood lighting, and in other instances spots orzones ot' light, with or without color accompaniment in each instance, and in all instances the means em ployed shall be capable of effecting desired gradations in the lighting eects produced, from those ot' the greatest light intensity to the various degrees of what may be termined shade or darkness.

The object of my invention is to associate with musical or articulate sounds in various tones or shades a certain arbitrary system of brightening or darkening eliects, with or without color accompaniment, peculiarly adapted to express or to complement the emotions produced by musical notes and tones in order that the pleasure derived by the individual through t-he sense of hearing may be enhanced through the sense of sight. It is -obvious that the field in Which my improved arrangements are available is very large, and it is. also obvious that while under some conditions certain arbitrary matters must form part of any system having in view the correlation or complementing of `light and shade and color with music, they should be capable of a large amount of flexibility or elasticity in the Way of adjustment to. meet the Widely various conditions presented by the range of musical compositions.

.There are many compositions or works of classical and other music whose themes suggest the tonal or color aspect of the atmosphere, Whether brilliant light or shadow, twilight, or darkness, or anything between the highest intensity of light on the one side, and the deepest shade of night or blackness on the other side; and the essential object ot' m invention is the provision of means W iereby the music, however interpreted or by whatever means, may be accompanied by changes in the degrees of light of the atmospheric and other surroundings properly associated with such music, and with or without the accompaniment of color.

The means employed for attaining this result must be highly sensitive or elastic' in order that changes from high light to shade and the various light intensities, or vice 1924. serial No. 743,839.V

gradually; or may follow each other in f sharp contrast, depending upon the arhi trary arrangement of the lighting or coloring to which any particular musical composition or theme is especially adapted to respond from the viewpoint of artistic and aesthetic beauty.

As may be readily understood, music of a light and airy character might Well be complemented with lighting eilects Which include-the paler shades of any of the primary colors of the vspectrum rays; -the majestic themes may have the higher intensities of light and the deeper or more intense coloration;v and the heavy and sombre musical works the deeper shades and the darker tones. It is obvious further that many ditl'erentV forms and types of mechanism may be employed to accomplish these results.

These and other features of my invention are more fully disclosed hereinafter, reference being had to the accompanying drawings showing several forms o't' mechanism which may be employed Wit-hin the Scope of my invention, in which: f

Figure 1, is a fragmentary diagrammatic View of a lighting system Within the scope of my invention in which light producing means, which may be electric lamps, are controlled by a perforated sheet such as is employed in mechanical music players; the sheet so employed having a line of perforations, through the inst-rnn'lentality of which, actu'ig in connection with properly cooperative means or parts, instantaneous control of the lighting means is etl'ected.

Fig. '2 is a diagrammatic view of other means which I may employ to produce the desired lighting eiects, with or without color accompaniment, and

Fig. 3 is a diagrammatic view of a'portion of a piano, organ or other key-played instrument having means whereby" atmospheric coloring in various intensities or shades may be produced.v

In Fig. 1, I have shown a method of varying the intensity of a lurality of light sources' as represented by amps A', B and C. The drawing shovvsv automatic controlling lli) i (ll (a .or other device 11. When the aperture or means. lForthis pur ose, I prefer to use a standard type of per orated music sheet to automatically throw on and off the light supplying medium or source, and to control the same, individually or collectively, by means of a Suitable voltage regulator or any means capable of performing the desired function.

y In the system diagrammatically illustrated in Fig. l; 1 represents a perforated music sheet common to lnechanical music players; the same passing over the usual tracker board 2, having the usual apertures 3 controlling the musical notes or tones. In addition s uch sheet is provided with additional rows of apertures 3, 3b, A3 and 3d, designed to cooperate with apertures 2, 2b, c and 2 of the tracker board 2 whereby the control of the lighting or darkening intensity lnay be effected.

Each light source may be controlled by a rotary switch 4%, 4b, 4 or 4d, and these switches carry notched disks 5, 5b, 5c and 5, which are actuated by ratchet pawls 6, 6b, 6c and 6, operatively connected to the cores of the magnetic solenoids 7 7 b, 7 c and 7d, when the latter are energized by the closing of the contacts 8, 8b, Scand 8d through the expansion of the bellows 9, 9b, 9c and 9d.

The generaFOperat-ion isas follows:

A suitable source of current supply, indicated at 10 is provided for supplying current to the lamps A, B and C to the solenoids 7b, 7c and 7", and tothe voltage regulator hole 3d in the music sheet registers with the aperture 2d of the tracker board, the bellows 9d expands and closes the contacts 8d, thus energizing the solenoid 7 d, and the plunger or core thereof moved upward, turning the ratchet disk 5d by the pawl 6d, and operating the rotary switch 4d, which closes the main circuit.

lVhen the aperture 3 in the music, sheetl registers with the aperture 2a of the tracker board, the bellows 9'* expands slightly, from lthe position shown in Fig. 1, in Which /its "upper edge .lightly bears against the lower surface of the contacts 8'd and on its expan- 1 sive movement closes the contacts 8, thereby energizing the solenoid 7", and the plunger orcore thereof moves upward, turning the ratchet disk 5i by the pawl 6, and operat-` ing the rotary switch 4. -This supplies current to the lamp A.

When the apertures 3b or 3c of the music sheet register with the complemental apertures 2* or 2 in the tracker board, the operation of the several elements to supply current to the lamps B and C is the same as that effected by the registration of the apertures 2d and 3d: When it is desired to throw off `the main current, the rotaryswitch 4d is to be turned, and this may he etlectedby providing an aperture 3" at the end of the music at the exact instance desired, and the electrical mechanism is entirely disconnected when the final aperture'Id operates the main ro tary switch 4d.

lVhile electric lamps are shown as the sourceof illumination, it will be understood that other forms of light producing elements may bc employed under the control of the actuating mechanism which cooperates with the apertured music sheet 1.

rl`hc voltafre regulator 11, which is a special means o varying the pressure or 'voltage supplied. to the light sources or lamps A, B and C, is provided and arranged so that it can be controlled by a hand-lever 13 which, in this case, may also serve as an indicator 0f the light intensity. This may be connected by gears 14 and 15 to obtain the required sensitive movement of the coil 16, which is normally stationary but free to turn. The' position of the coil 16 with respect to the magnetic field 17 gives the voltage applied to the light source, and the movement, therefore, provides a means of varying th'e light intensity'.

While s ecific means are shown to obtain the desire adjustmentin the relation between the coil 16 and the magnetic pole or field 17, any other means of turning the coil 16 may be provided. This'movement might he effected by a pedal, or by fluid pressure under the control of' a suitable valve, which could be operated automatically by the use of-apertures in the music sheet 1, thus making the entire control of the light and its intensities .automatic through the use of perforations or apertures in the music sheet, which perforations may be produced simultaneously with the perforations which control the musical notes.

l/Vhile the arrangement indicated is shown as controlling individual lamps A, B and C: the switches being arranged to increase or decrease the intensity of light at will, the lights may be arranged in banks, clusters or other combinations and in various color tones or shades, and with vcolor screens or other means so that any desired` color effect may be ing elements. Lamps A, B and C may be single lamps of any wattage capacity, or they may represent any number of lamps operated in banks as individual units. Any' number of units can be used and controlled in the manner shown.

Reversing switches 20, 20D and 2()C here shown, may be arranged similar to the tilting tablet of an organ, or otherwise modiiied in design; the object being to provide two movements, one to close one circuit, and theother to open this circuit and close another circuit. A key arrangement could be employed for this purpose. These reversing switches may be arranged to cont-rol, respectively, the motors 2l, 21b and 2l. Vhen one of these switches isthrown in 20a, for instance, the corresponding motor 21a will run in one direction or the other, thus driving the sliding cont-act 22, and cutting in or out the desired amount of vresistance in the resistance element or coil 23a. Vhen the switch is thrown in the opposite direction, the motor reverses and the operation of the sliding contact is likewise-reversed. This provides means for increasing or decreasing the intensity of the lamps A', B or C; each lamp being controlled individually.

1()a may represent the source of current supply for the electrical circuit and equipment shown, and 11 may represent a voltage regulator or other device capable of the same or-similar function which may be controlled by a. reversing switch 20d, disposed adjacent the reversing .switches 20a, 2Ob and. 20. A tilting table key or any other mechanical means, arranged so that it will operate as a switch, may be employed. The position of the switch 20d controls the operation of the voltage regulator 1la in such a manner that the potential supplied to the lamps A', B or C can be gradually increased or decreased automatically from any remote point at. which the switch 20d may be located.

The voltage regulator may be driven by a motor or other prime mover 25, and may be operatively connected therewith through in the chamber 31;

a disk drive comprising the friction wheels 26 and 27. The switch 2()d controls the motor 25, which in turn actuates the voltage regulator mechanism.

A fluid pressure pump 28 may be provided and equipped with a suitable valve 29, which can be located at any' desired point for controlling the position of the disk 26, which.

may be caused to move by supplying fluid under pressure to either side of the piston The valve, pressure cylinder, disk drive and its accompanying actuating means, .a motor 0r other prlme mover, form anmeans of varying at will the voltage supplied from the volt-age regulator. With this arrangement, the change in speed either slower o1' faster can be obtained by the simple movement of the valve correlating the manner of growth of the dynamics of soundwith the dynamics of light, which valve may be under the control of the musician or under the control of a perforated sheet or other means properly synchronized or correlated with the musical theme.)` interpreted by the artist whereby the -colored screen may be moved simultaneously with the progress of the music as played by the performer, or by an automatically actuated mechanical-player, under such conditions that the desired light diffusion or shadow with or without coloration, may be properly associated as to time with the musical notes or tones.

In this arrangement, a Isource of light such as an electric lamp indicated-at may be employed, which lamp may b-e backed by a reiector 36and above the light a colored film 37 may be arranged; such lilm being carried by a. roll 38 from which it may be unwound, with a roll 39 upon which it may be wound. The roll 39 may be positively driven from the roll 38, by a suitable train of gearing 40, 41, 42, 43, 44, and 46;-

the roll 38 being positively driven by a chain or belt 46, from a wheel 47, which may be actuated by a suitable motor 48, by electromagnetic control or by any other suitable means.

For the coloring effect, a-s may be well understood, colored lamps may be employed, with or without previously determined or slet sequence, or colored screens may be employed, or means ma be arranged whereby the primary colors of the solar spectrum can be utilized with the` aid of a suitable lens (or lenses), a filter (or filters), placed in proper relation with the lighting means and with the desired or necessary instrumentalities for cutting off portions of the spectral colors, or of blending two or more of the same to produce any desired tone of the color in any desired gradation or intensity; insensibly growing or lessening or brought in as willed, Additionally, this lighting may ybe in the nature of flood lighting in which the performer may be placed, or any limited zone or portion directlysurrounding the performer or performers, or disposed at anyv other parts of the eircumambient space and within hearing of the` musical tones, as may be desired, and controlled from any point to ltlll taneously; reaching the individual in three dimensional 'manner as sound reaches him.

I claim:

1. The combination with means, for producing musical notes, of lighting means, means for gradually effecting changes in rlight produced by said lighting means, and means for varying the intensity of said light, both of said means being timed with the musical notes produced.

2. rI'he combination with means for producing musical notes of a source of illumination, means for gradually effecting changes in the light produced by said source, means for varying the intensityof the said light. and means for 'timing both offsaid means with the musical notes produced. f

3. The combination with a musical instrument, of lighting means, means control'led by said instrument for gradually effecting changes in said lighting means, means for varying the intensities of said lighting means, andmeans for timing the intensities withgthe musical notes produced.

4. The combination With light producing means and sound producing means, of means for gradually effecting changes in the light,

and other means for eecting changes in the light intensities, both of saidv means operating in timed relation With the sounds produced.

5. The combination with a musical instru- I ment, a perforated sheet, and means whereby said perforated sheet automatically effects the production of music by said'instrument, of a lighting circuit, means'vvhereby said perforated sheet controls said circuit, and means for varying the intensity of the light produced by the 'lighting circuit;

6. The combination with a musical instrument, of colored lamps, means whereby said instrument selectively illuminates said lamps, and manually controlled means for varying the intensities of the light produced by the said lamps in timed relation `to the musical tones, produced bythe saidl instrument.

l7. The' method of associating musical sounds with accompanying illumination, which consists in providing a source of light, vautomatically effecting changes in the color of said light, 'andvarying the intensity of the. light produced in timed relation to the musical tones produced. y

8. The method of combining sound and light for aesthetic expression which consists in producing sounds in a rhythmic relationship and simultaneously producing lighting effects within the area of-audibi'lity of v. the sounds by varying the'intensity 'of the light in timed relationship with the sounds.

9.'j'l`hel method. of combining .sound and light for aesthetic expression, consisting in producing audible sounds in timed, rhythmic in timed relationship with the emotional or i aesthetic content of a-succession of such sounds.

11. The method of combining sound and light for aesthetic expression, consisting in producing audible sounds in timed, rhythmic relationship, flooding with light ,Ian area Within the area of audibilityof the sound, and simultaneously producing gradual variations in the light in timed relationship with the musical effect produced by a succession of such sounds.

12. The method of combining sound and light for aesthetic expression consisting in producing audible sounds in timed rhythmic relationship, producing alight in an area Within the area of audibility of the sound, maintaining said light during a succession of such sounds, and producing gradual varitions in the light Without extinguishing it in timed relationship With such succession of sounds.

13. The method of combining light and rhythmic sound for aesthetic expression which consists in merging in sympathy with the successive emotional values of rhythmic sound the intensity or color of lights from a source of light Without interrupting the light for a substantial length of time.

14. The method of combining light and sound for 'aesthetic expression, consisting in producing music and producing aflood lightllo ing within the range of audibility of the said music and varying Whileimaintaining for a substantial length of time the emotional values of the light in sympathy with or complemental to the successive emotional values of the music.

15. The method of combining vlight and sound for aesthetic expression which consists in producing rhythmic sound having successive' emotional values and producing light within a range of yaudibility of said sound, and in variably merging color of the light in sympathy with the successi ve emotional va'lues of the sound.

16. The. method of combining sound and light for aesthetic expression which consists in producing rhythmic sound and produclit ing a flood-lighting -Within the range of l audibility of said-sound, and Varying AWhile maintaining said light in sympathy or con` with or contrast to the successive emotional values of said rhythmic so-und.

In testimony of which invention, I have hereunto set my' hand, at Philadelphia,

.y Pennsylvania, on this 13th day of October,

MARY HALLOGK- GREENEWALT.

Re. A16,8125.,-Moi1" l/ Hallock GreemwaltLPhiladelphiaj, Psi.v

Fon AssociA'rING LIGHT AND Music. Patent Disclaimer led December 23, 1933, by the 'petenteev Hereby entersl the `following disclaimer,

to 17 inclusive, .as follows:

inclusive, and 7 METHOD or AND MEANS dated December 20, 1927.

the aforesaid claims numbers 1 4 Q7 l disclaim thex use of stereoptically focussed lmages such as are known as painted pictures and the like, projected between stantially shapeless flood lof light.

[Ojc'ial Gazette Jancary 16,1934] i lenses as distinguished from the use of subwith or contrast to the successive emotional values of said rhythmic so-und.

In testimony of which invention, I have hereunto set my' hand, at Philadelphia,

.y Pennsylvania, on this 13th day of October,

MARY HALLOGK- GREENEWALT.

Re. A16,8125.,-Moi1" l/ Hallock GreemwaltLPhiladelphiaj, Psi.v

Fon AssociA'rING LIGHT AND Music. Patent Disclaimer led December 23, 1933, by the 'petenteev Hereby entersl the `following disclaimer,

to 17 inclusive, .as follows:

inclusive, and 7 METHOD or AND MEANS dated December 20, 1927.

the aforesaid claims numbers 1 4 Q7 l disclaim thex use of stereoptically focussed lmages such as are known as painted pictures and the like, projected between stantially shapeless flood lof light.

[Ojc'ial Gazette Jancary 16,1934] i lenses as distinguished from the use of sub- 

